Search

Copyright of Nuova Rivista di Letteratura Italiana is the property of Edizioni ETS s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of Hispanic Studies (1475-3839) is the property of Liverpool University Press / Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nova Tellus is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this paper is to show the cognitive metaphors present in this poem by P.B. Shelley. [ABSTRACT FROM AUTHOR]

This article offers a detailed reading of the surviving sonnets of the poet known as the Compiuta Donzella di Firenze, paying particular attention to her performance of a feminine subject and critical engagement with common lyric tropes. A lack of biographical information about the Compiuta Donzella, the first woman to whom literary texts in the Italian vernacular are attributed, has led to speculation over her identity and ‘authenticity’, or to biographical readings of her texts. Acknowledging the same sorts of playful, ironic, and performative lyric subject and content in the Compiuta Donzella’s work that are commonly ascribed to other lyric voices allows us to appreciate the technical and thematic artifice in her sonnets. Comparative close readings of her surviving texts and some responses to them (by Guittone d’Arezzo, Maestro Rinuccino or Guido Guinizzelli, and an anonymous poet) provides a broader perspective on her work as engaged in active dialogue with the lyric context of thirteenth-century Italy. [ABSTRACT FROM PUBLISHER]

The article offers poetry review of the poem "The Brothers Poem" by Sappho. It explores the gender and genre used and mentions that it belongs to subgenre of the epic "Nostos." Comparisons have been made with poet Homer's poem "Odyssey." The poet has also created a lyric medium in her own image.

This article analyses how Friedrich Schelling’s account of ancient didactic poetry in The Philosophy of Art is derived from a fundamental distinction between epic and lyric as kinds of poetic consciousness. It then uses Schelling’s theorization of didactic poetry as a subjective inflection of Homeric epic to investigate three didactic poems that make lyric knowledge the generative condition of their own existence: the Theriaca of Nicander, the Cynegetica of pseudo-Oppian, and the anonymous Latin Aetna. Finally, it considers how Schelling’s distinction between epic and lyric consciousness might yet be useful in understanding the role of scientific vocabulary in the poetry of J. H. Prynne and Paul Celan. [ABSTRACT FROM PUBLISHER]

Scholars have traditionally acknowledged Francis Petrarch's indebtedness to the amorous poetic schools; however, they have overlooked the influence of comic-realistic verse on him. Yet sonnet 136 of Rerum Vulgarium Fragmenta demonstrates its impact. Rvf 136 is the first of three sonnets decrying the corruption of Avignon. In it, Petrarch depicts Avignon as if a disgusting woman, illustrating the impact of Vituperium in Vetulam, a sub-genre of comic poetry that inveighs against a stereotyped old woman. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the poem "Rare poemes aske rare friends" by Ben Jonson. It explores the representations of manuscript composition and circulation in the lyric poetry. The author provides the social context and offers information on the different meaning of the several elements.

The article critiques a Christian ballad composed in the Faroese language. The author discusses the depiction of the annunciation, the birth of Jesus and stasis within the ballad and compares the lyrics with the passage about the birth of Jesus based on the Old Testament. Other topics include he metaphors of the stillness of the night during the birth of Jesus, the psychological effects of singing the ballads among Faroese fishermen, and the ballad's structure.

The article offers criticism on the anonymous Elizabethan lyric poem "Zepheria" featuring canzonets. The author looks at the poem's literary significance, the history of the publication of the poem, and the publication of the modern-spelling/punctuation edition of the poem. The article also discusses the lack of proficiency in the poem.

The article examines John Milton's and George Wither's view of the vocal charms portrayed in their religious lyric poetry of "Hymnes and Songs of the Church," "Schollers Purgatory," "Nativity Ode," and "Areopagitica" in the context of the Reformation. The author provides background information on both poets, discusses their use of hymn in their poetry, and interprets each poem.

The article provides observations on the Chinese lyric poetry titled "The Book of Songs." It presents historical and cultural information on the text of "The Book of Songs," addresses comparison between "The Book of Songs" and epic Latin poem "The Aeniad," by Virgil, and notes the historical background on the poems of "The Book of Songs."

The article discusses the anonymous sixteenth-century lyric "Westron Wynde," with particular focus given to its popularity and the ambiguous nature of its syntax and the relationship between the first and second lines. The symbolic significance of the west wind is also commented on

The article analyzes the collection of poems known as "Canzoniere" by Francesco Petrarca, also known as Petrach. It focuses on the philosophical concept of self as a theme in the poem, as well as self-making and the moral ambiguity in the poetic language. In addition, the poet's lyrical voice and lyric as a literary form are examined.

A critique is presented of the American long poem "Articulation of Sound Forms in Time" by Susan Howe, focusing on her use of lyric poetry structure and her depiction of U.S. history in poetry. Themes of ecstasy, nation formation, and postmodernism are discussed, as well as Howe's depiction of the history of Reverend Hope Atherton, a discredited historical figure who claimed to witness the 1626 Falls Fight, or battle between English settlers and Native Americans.

The article discusses the work of the Greek lyric poet Sappho, with particular focus given to the author's argument that her poetic style is a type of Romanticism. Comparisons between Sappho and other Greek lyric poets are presented, and the themes of love and sexuality in her work are commented on.

A critique is presented of pre-World War I circular poem-paintings, such as the poem "Lettre-Océan" by French poet Guillaume Apollinaire and the painting "Festa patriottica" or "Manifestazione interventista" by Italian Futurist painter Carlo Carrà, which incorporates text. The 20th century avant-garde movement, lyric poetry styles, and action in art are also discussed.